Indeed, new musical practices, nurtured by the transnational connections people maintain in these culturally fertile borderlands, have escalated since Mexico’s full embrace of neoliberal ideologies that shape border economic development. 3 Thus, García Canclini asserts that deterritorialization stimulates an immediate re-localization of old and new symbolic productions. 5 See Helena Simonett, “Re-localized Rap and Its Representation of the Hombre digno,” in Transnationa (.)ĢNéstor García Canclini, in his classic work Hybrid Cultures, claims that the most innovative and dynamic cultural production resulting from deterritorialization is happening in the main area of migrations on the continent, that is, the border between Mexico and the United States.4 George Lipsitz, “Diasporic Noise: History, Hip Hop, and the Post-colonial Politics of Sound,” in Po (.).3 Néstor García Canclini, Hybrid Cultures: Strategies for Entering and Leaving Modernity (Minneapolis (.).
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